Ipi Ntombi: An African Dance Celebration
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Product details
Actor: Elie Semoun, Pascal Greggory, Roselyne BachelotEdition: VHS Tape
Audio: English (Original Language)
Format: Closed-captioned, Color, NTSC
Running Time: 90 minutes
Release Date: 1999-01-12
Audience Rating: NR (Not Rated)
Publisher: PBS Home Video
Studio: PBS Home Video
VHS Movie Reviews of Ipi Ntombi: An African Dance Celebration
Movie Review: Absolutely Fabulous!!!
Summary: 5 Stars
Now I own the (old) record, the CD, and the video. This is the greatest ethnic musical ever. I saw it first in New York in the 70's. Even though there were threats of violence, no one left the theater during the performance, and everyone left at the end - singing!
I have shown the video to my classes - every year during Black History Month and a couple of times during the year, and the students love it. They sit still, captured by the performance, the very gripping music.
It is a nice story, a love story, which includes tribal customs and religion, christianity, the move from village to city, conflict between parents and children. All is presented in fabulous costumes.
It is THE BEST!
Movie Review: The Ipi Ntombi review
Summary: 5 Stars
I had the wonderful opportunity to see the show Ipi Ntombi, and let me tell you that I was just mesmerized by all the dancing and singing, I would recommend it for anyone to see it, it was just awesome. I would love to see it again. A wonderful performance. Congratulations to the cast.Movie Review: Does anyone see the cultural ramifications???????
Summary: 1 Stars
I was amazed to see only positive reviews of this musical here. From a cultural/anthropological perspective this movie is horrific. It promotes the superiority of urban life and Christianity, and treats tribal life as silly, ignorant, and superstitious. The whole musical was created by a white mother/daughter duo, and one can only wonder about their acceptability to portray modern tribal life in South Africa and also their willingness to share the profits from such an expoitation of a culture with the members of that culture. Also, one cannot forget the date this musical was made--1974--before the crumbling of apartheid. Thus, this a skewed view of traditional African life coming from a racist perspective. It can only be compared to minstrel shows in the US in that it is viewed as fun and exciting, but really has some dark cultural ramifications.Movie Review: Better than ever
Summary: 5 Stars
I emigrated to the USA from South Africa in 1970, and first heard the tunes from Ipi Thombi -- as it was called then -- in a NYC disco some five or six years later. Then shortly afterward, saw the first stage show live at NYC's Harkness Theater, just before anti-apartheid activists shut it down, throwing the black South African cast and crew out of work. Irony, no? Since then, I have never been able to get its music out of my mind. So I bought the first album mostly featuring Margaret Singana ... then the second double album of the show. Both albums are now almost worn through. Then recently, I happened to catch a glimpse of a familiar scene as I surfed past PBS -- and clicked right back to find myself in the middle of a riotous river of swirling color and African harmonies (unmistakable, and unlike any other!) and saxophones and drums and ankle bracelets and movement (you better BELIEVE we got rhythm!) and almost the SMELL of Africa, even ... and a rush of memories like a blow to the chest. It pins you back to the couch, this show does, and never lets you go. Someone, somewhere, noted that if Ipi nThombi was not already the national opera of South Africa, then it ought to be; and that's true. Is it an odd thing that this sensitive glimpse into the African soul, this great tuneful outburst of black African exuberance was written by two white women? Not if you're South African, no: southern Africa's in your DNA. Watch "Ipi nTombi" and understand.Movie Review: Spectacular Video tape
Summary: 5 Stars
I have audio cassettes for Ntombi Marhumbhini. My friend gave them to me when I was in Malawi. When I came to the US, I wanted if I could find a VHS for the audio cassettes I have only to find Ipi Ntombi. I read the reviews, and I did not hesistate to buy it.This movie is great. The way they sing and dance depicts African originality. Their voices are so sharp that I do not see it boring throughout. If you haven't watched this movie, please try to. You will not regret like I am not regretting having bought it. If you have watched Namu Lwanga from Uganda, it is almost at par. Namu Lwanga holds shows in colleges and universities all around United States.
Finally, I would advise to look for this movie and see for yourself.
Summary of Ipi Ntombi: An African Dance Celebration
Originally created by mother/daughter team Bertha Egnos and Gail Laiker, IPI NTOMBI (pronounced Ippy-Intombee and meaning "where are the girls") opened in Johannesburg, South Africa, in 1974 and then played to standing ovations all over the world for the next six years. Now, more than 20 years later, this new, updated version sizzles with its return to the stage, blending the traditional rhythms of Africa with the modern heartbeat of its people. The company of 50, some of whom are direct descendants of the original cast members, dance the story of the Johannesburg mine worker, who sings of his love for the girl back home and his sense of separation from his tribal roots. The show has restyled the musical's most popular numbers and added some new ones, including the exhilarating "Four Important Porters from Potgietersrus."Ipi Ntombi is a joyous, homegrown dance and music celebration of black South African culture. First performed in 1974, the production, with a phenomenally talented and energetic cast of 50, has delighted audiences all over the world. This video of a live performance doesn't flag for an instant. The dancers display the athletic stamina needed to run a marathon; the singers show the vocal and emotive power of grand opera. Ipi Ntombi might well be regarded as a national opera of South Africa.
The story is so primal that it seems to have sprung directly from South African soil. It begins in a tiny village with thundering ceremonial dances in colorful tribal costumes. A tender love story emerges between a village girl and young man, who has gone away to work in the mines. As her sweetheart travels from the countryside to the city, tribal ceremonies morph into break dancing, jubilant South African rock & roll, and gospel singing. The youth, torn between his village roots and urban temptations, personifies the essential African conflict between the ancient and modern worlds.
Among memorable numbers are the cobra dance, with mesmerizing glow-in-the-dark costumes, and a funky gospel hallelujah chorus that brings down the house. The spectacular wedding ceremony between the boy and his girl symbolizes a marriage of tribal and city cultures. --Laura Mirsky
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